Podcasts about antonioni

Et on parle aussi de Michael Cimino, William Friedkin, Jacques Prévert ou Antonioni. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

durée : 01:24:14 - Les Nuits de France Culture - par : Philippe Garbit - En 1989, "Les Mardis du cinéma" explorent le regard d'Antonioni. Francesca Isidori reçoit Jeanne Moreau, Aldo Tassone, Pascal Bonitzer et Marie-Pierre Ropars, pour décrypter l'art du cinéaste. Avec des archives où la voix d'Antonioni éclaire son œuvre. - réalisation : Mydia Portis-Guérin - invités : Pascal Bonitzer Scénariste, réalisateur et écrivain, ancien rédacteur aux Cahiers du cinéma.; Jeanne Moreau Actrice, chanteuse et réalisatrice; Aldo Tassone Historien du cinéma et journaliste italien; Marie-Pierre Ropars Théoricienne de la littérature, du cinéma et de l'esthétique

Flimmerfreunde patentieren Podcast. Nämlich in richtig gut. Auf die Fresse, Politesse: A WORKING MAN, killing in the name of Baustelle, Jason Statham gegen Menschenhandel und für Amerika wieder besser machen, Action wie früher bei heute Opa. Noch mehr Fäule im System bei BLACK BAG - DOPPELTES SPIEL, Steven Soderberghs Agenten Entwirrspiel für Erwachsene flutscht wie Tennis auf dem Centrecourt. Wir mochten sehr. Gilt ebenfalls für Ryan Cooglers BLOOD & SINNERS, neues vom Meister im genialen Genrehybriden, alles dabei, Spelunken, Sex, Gewalt, Vampire und der Ku Klux Klan im amerikanischen Süden von 1932. Vom OH BOY Regisseur kommt derweil ein kleines feines Noir Spiel mit Tennislehrer und Femme Fatale, ISLANDS ist wie Antonioni auf der Insel und G20 bei Prime ist wie STIRB LANGSAM in mach mal langsam und langweilig, aber das ist auch okay. Schließlich noch tauchen wir ab mit LAST BREATH, ein alles richtig machen Tiefseetaucherdrama. Flimmerfreunde haben den längsten Atem und noch Luft nach unten, einfach zu gut.

Antonioni'nin Blow-Up'ı Üzerine

JULIE ANDREWS (Oscar, Tony & Pulitzer Prize-winning Actress & Singer · The Sound of Music, Mary Poppins) Andrews shares her experience working on Mary Poppins, revealing behind-the-scenes secrets about the character. She reminisces about her collaboration with Walt Disney and Tony Walton.ETGAR KERET (Cannes Film Festival Award-winning Director & Author) Keret discusses the profound impact of his parents' survival stories from the Holocaust on his work. He explores how extreme human experiences can lead to extraordinary resilience and creativity,JOHN PATRICK SHANLEY (Oscar, Tony & Pulitzer Prize-winning Writer/Director · Doubt, Moonstruck, Joe Versus the Volcano) Shanley highlights the invaluable lessons and life experiences gained from his time in the Marine Corps. He emphasizes the significance of diverse interactions and communal living, underscoring how these experiences shape both his artistic vision and societal views.JOY GORMAN WETTELS (Exec. Producer of 13 Reasons Why, UnPrisoned · Founder of Joy Coalition) Joy Gorman Wettels reflects on her theatrical upbringing and the influence of her mother's passion for Sondheim and Neil Simon. She shares touching memories of the LGBTQ+ community in her life and how these early experiences cultivated her love for storytelling and community theater.PAUL SCHRADER (Screenwriter/Director · Taxi Driver, Raging Bull, First Reformed) Schrader analyzes the lasting impact of Taxi Driver on his work. He details his technique of immersing the audience into the protagonist's perspective and psychology.CHAYSE IRVIN (Award-winning Cinematographer · Blonde starring Ana de Armas · Beyonce: Lemonade · Spike Lee's BlacKkKlansman) Irvin discusses using mise-en-scène to represent characters' psychological states.MANUEL BILLETER (Cinematographer · The Gilded Age · Inventing Anna · Jessica Jones · Luke Cage) Billeter recounts his early inspirations from masters like Fellini and Antonioni and his invaluable learning experiences while working alongside Alfonso Cuarón.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInsta:@creativeprocesspodcast

JULIE ANDREWS (Oscar, Tony & Pulitzer Prize-winning Actress & Singer · The Sound of Music, Mary Poppins) Andrews shares her experience working on Mary Poppins, revealing behind-the-scenes secrets about the character. She reminisces about her collaboration with Walt Disney and Tony Walton.ETGAR KERET (Cannes Film Festival Award-winning Director & Author) Keret discusses the profound impact of his parents' survival stories from the Holocaust on his work. He explores how extreme human experiences can lead to extraordinary resilience and creativity,JOHN PATRICK SHANLEY (Oscar, Tony & Pulitzer Prize-winning Writer/Director · Doubt, Moonstruck, Joe Versus the Volcano) Shanley highlights the invaluable lessons and life experiences gained from his time in the Marine Corps. He emphasizes the significance of diverse interactions and communal living, underscoring how these experiences shape both his artistic vision and societal views.JOY GORMAN WETTELS (Exec. Producer of 13 Reasons Why, UnPrisoned · Founder of Joy Coalition) Joy Gorman Wettels reflects on her theatrical upbringing and the influence of her mother's passion for Sondheim and Neil Simon. She shares touching memories of the LGBTQ+ community in her life and how these early experiences cultivated her love for storytelling and community theater.PAUL SCHRADER (Screenwriter/Director · Taxi Driver, Raging Bull, First Reformed) Schrader analyzes the lasting impact of Taxi Driver on his work. He details his technique of immersing the audience into the protagonist's perspective and psychology.CHAYSE IRVIN (Award-winning Cinematographer · Blonde starring Ana de Armas · Beyonce: Lemonade · Spike Lee's BlacKkKlansman) Irvin discusses using mise-en-scène to represent characters' psychological states.MANUEL BILLETER (Cinematographer · The Gilded Age · Inventing Anna · Jessica Jones · Luke Cage) Billeter recounts his early inspirations from masters like Fellini and Antonioni and his invaluable learning experiences while working alongside Alfonso Cuarón.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInsta:@creativeprocesspodcast

JULIE ANDREWS (Oscar, Tony & Pulitzer Prize-winning Actress & Singer · The Sound of Music, Mary Poppins) Andrews shares her experience working on Mary Poppins, revealing behind-the-scenes secrets about the character. She reminisces about her collaboration with Walt Disney and Tony Walton.ETGAR KERET (Cannes Film Festival Award-winning Director & Author) Keret discusses the profound impact of his parents' survival stories from the Holocaust on his work. He explores how extreme human experiences can lead to extraordinary resilience and creativity,JOHN PATRICK SHANLEY (Oscar, Tony & Pulitzer Prize-winning Writer/Director · Doubt, Moonstruck, Joe Versus the Volcano) Shanley highlights the invaluable lessons and life experiences gained from his time in the Marine Corps. He emphasizes the significance of diverse interactions and communal living, underscoring how these experiences shape both his artistic vision and societal views.JOY GORMAN WETTELS (Exec. Producer of 13 Reasons Why, UnPrisoned · Founder of Joy Coalition) Joy Gorman Wettels reflects on her theatrical upbringing and the influence of her mother's passion for Sondheim and Neil Simon. She shares touching memories of the LGBTQ+ community in her life and how these early experiences cultivated her love for storytelling and community theater.PAUL SCHRADER (Screenwriter/Director · Taxi Driver, Raging Bull, First Reformed) Schrader analyzes the lasting impact of Taxi Driver on his work. He details his technique of immersing the audience into the protagonist's perspective and psychology.CHAYSE IRVIN (Award-winning Cinematographer · Blonde starring Ana de Armas · Beyonce: Lemonade · Spike Lee's BlacKkKlansman) Irvin discusses using mise-en-scène to represent characters' psychological states.MANUEL BILLETER (Cinematographer · The Gilded Age · Inventing Anna · Jessica Jones · Luke Cage) Billeter recounts his early inspirations from masters like Fellini and Antonioni and his invaluable learning experiences while working alongside Alfonso Cuarón.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInsta:@creativeprocesspodcast

JULIE ANDREWS (Oscar, Tony & Pulitzer Prize-winning Actress & Singer · The Sound of Music, Mary Poppins) Andrews shares her experience working on Mary Poppins, revealing behind-the-scenes secrets about the character. She reminisces about her collaboration with Walt Disney and Tony Walton.ETGAR KERET (Cannes Film Festival Award-winning Director & Author) Keret discusses the profound impact of his parents' survival stories from the Holocaust on his work. He explores how extreme human experiences can lead to extraordinary resilience and creativity,JOHN PATRICK SHANLEY (Oscar, Tony & Pulitzer Prize-winning Writer/Director · Doubt, Moonstruck, Joe Versus the Volcano) Shanley highlights the invaluable lessons and life experiences gained from his time in the Marine Corps. He emphasizes the significance of diverse interactions and communal living, underscoring how these experiences shape both his artistic vision and societal views.JOY GORMAN WETTELS (Exec. Producer of 13 Reasons Why, UnPrisoned · Founder of Joy Coalition) Joy Gorman Wettels reflects on her theatrical upbringing and the influence of her mother's passion for Sondheim and Neil Simon. She shares touching memories of the LGBTQ+ community in her life and how these early experiences cultivated her love for storytelling and community theater.PAUL SCHRADER (Screenwriter/Director · Taxi Driver, Raging Bull, First Reformed) Schrader analyzes the lasting impact of Taxi Driver on his work. He details his technique of immersing the audience into the protagonist's perspective and psychology.CHAYSE IRVIN (Award-winning Cinematographer · Blonde starring Ana de Armas · Beyonce: Lemonade · Spike Lee's BlacKkKlansman) Irvin discusses using mise-en-scène to represent characters' psychological states.MANUEL BILLETER (Cinematographer · The Gilded Age · Inventing Anna · Jessica Jones · Luke Cage) Billeter recounts his early inspirations from masters like Fellini and Antonioni and his invaluable learning experiences while working alongside Alfonso Cuarón.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInsta:@creativeprocesspodcast

JULIE ANDREWS (Oscar, Tony & Pulitzer Prize-winning Actress & Singer · The Sound of Music, Mary Poppins) Andrews shares her experience working on Mary Poppins, revealing behind-the-scenes secrets about the character. She reminisces about her collaboration with Walt Disney and Tony Walton.ETGAR KERET (Cannes Film Festival Award-winning Director & Author) Keret discusses the profound impact of his parents' survival stories from the Holocaust on his work. He explores how extreme human experiences can lead to extraordinary resilience and creativity,JOHN PATRICK SHANLEY (Oscar, Tony & Pulitzer Prize-winning Writer/Director · Doubt, Moonstruck, Joe Versus the Volcano) Shanley highlights the invaluable lessons and life experiences gained from his time in the Marine Corps. He emphasizes the significance of diverse interactions and communal living, underscoring how these experiences shape both his artistic vision and societal views.JOY GORMAN WETTELS (Exec. Producer of 13 Reasons Why, UnPrisoned · Founder of Joy Coalition) Joy Gorman Wettels reflects on her theatrical upbringing and the influence of her mother's passion for Sondheim and Neil Simon. She shares touching memories of the LGBTQ+ community in her life and how these early experiences cultivated her love for storytelling and community theater.PAUL SCHRADER (Screenwriter/Director · Taxi Driver, Raging Bull, First Reformed) Schrader analyzes the lasting impact of Taxi Driver on his work. He details his technique of immersing the audience into the protagonist's perspective and psychology.CHAYSE IRVIN (Award-winning Cinematographer · Blonde starring Ana de Armas · Beyonce: Lemonade · Spike Lee's BlacKkKlansman) Irvin discusses using mise-en-scène to represent characters' psychological states.MANUEL BILLETER (Cinematographer · The Gilded Age · Inventing Anna · Jessica Jones · Luke Cage) Billeter recounts his early inspirations from masters like Fellini and Antonioni and his invaluable learning experiences while working alongside Alfonso Cuarón.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInsta:@creativeprocesspodcast

JULIE ANDREWS (Oscar, Tony & Pulitzer Prize-winning Actress & Singer · The Sound of Music, Mary Poppins) Andrews shares her experience working on Mary Poppins, revealing behind-the-scenes secrets about the character. She reminisces about her collaboration with Walt Disney and Tony Walton.ETGAR KERET (Cannes Film Festival Award-winning Director & Author) Keret discusses the profound impact of his parents' survival stories from the Holocaust on his work. He explores how extreme human experiences can lead to extraordinary resilience and creativity,JOHN PATRICK SHANLEY (Oscar, Tony & Pulitzer Prize-winning Writer/Director · Doubt, Moonstruck, Joe Versus the Volcano) Shanley highlights the invaluable lessons and life experiences gained from his time in the Marine Corps. He emphasizes the significance of diverse interactions and communal living, underscoring how these experiences shape both his artistic vision and societal views.JOY GORMAN WETTELS (Exec. Producer of 13 Reasons Why, UnPrisoned · Founder of Joy Coalition) Joy Gorman Wettels reflects on her theatrical upbringing and the influence of her mother's passion for Sondheim and Neil Simon. She shares touching memories of the LGBTQ+ community in her life and how these early experiences cultivated her love for storytelling and community theater.PAUL SCHRADER (Screenwriter/Director · Taxi Driver, Raging Bull, First Reformed) Schrader analyzes the lasting impact of Taxi Driver on his work. He details his technique of immersing the audience into the protagonist's perspective and psychology.CHAYSE IRVIN (Award-winning Cinematographer · Blonde starring Ana de Armas · Beyonce: Lemonade · Spike Lee's BlacKkKlansman) Irvin discusses using mise-en-scène to represent characters' psychological states.MANUEL BILLETER (Cinematographer · The Gilded Age · Inventing Anna · Jessica Jones · Luke Cage) Billeter recounts his early inspirations from masters like Fellini and Antonioni and his invaluable learning experiences while working alongside Alfonso Cuarón.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInsta:@creativeprocesspodcast

En este episodio, exploramos a fondo el fascinante pero controvertido sistema de las neuronas espejo. Desentrañamos su descubrimiento, su neurofisiología, y el papel que desempeñan en procesos como la comprensión de acciones, la imitación, la empatía y el lenguaje. Además, abordamos las críticas más relevantes de autores como Hickok y Heyes, reflexionamos sobre su relevancia en la neurorrehabilitación y analizamos su conexión con otras redes cerebrales como el cerebelo. Un episodio esencial para entender el estado actual de la ciencia detrás de estas células y su impacto en la cognición y la clínica. Referencias del episodio: 1. Antonioni, A., Raho, E. M., Straudi, S., Granieri, E., Koch, G., & Fadiga, L. (2024). The cerebellum and the Mirror Neuron System: A matter of inhibition? From neurophysiological evidence to neuromodulatory implications. A narrative review. Neuroscience and biobehavioral reviews, 164, 105830. https://doi.org/10.1016/j.neubiorev.2024.105830 (https://pubmed.ncbi.nlm.nih.gov/39069236/9. 2. Bonini, L., Rotunno, C., Arcuri, E., & Gallese, V. (2022). Mirror neurons 30 years later: implications and applications. Trends in cognitive sciences, 26(9), 767–781. https://doi.org/10.1016/j.tics.2022.06.003 (https://pubmed.ncbi.nlm.nih.gov/35803832/). 3. Borges, L. R., Fernandes, A. B., Oliveira Dos Passos, J., Rego, I. A. O., & Campos, T. F. (2022). Action observation for upper limb rehabilitation after stroke. The Cochrane database of systematic reviews, 8(8), CD011887. https://doi.org/10.1002/14651858.CD011887.pub3 (https://pubmed.ncbi.nlm.nih.gov/35930301/). 4. Catmur, C., Walsh, V., & Heyes, C. (2007). Sensorimotor learning configures the human mirror system. Current biology : CB, 17(17), 1527–1531. https://doi.org/10.1016/j.cub.2007.08.006 (https://pubmed.ncbi.nlm.nih.gov/17716898/) 5. Dinstein I. (2008). Human cortex: reflections of mirror neurons. Current biology : CB, 18(20), R956–R959. https://doi.org/10.1016/j.cub.2008.09.007 (https://pubmed.ncbi.nlm.nih.gov/18957251/). 6. Fadiga, L., Fogassi, L., Pavesi, G., & Rizzolatti, G. (1995). Motor facilitation during action observation: a magnetic stimulation study. Journal of neurophysiology, 73(6), 2608–2611. https://doi.org/10.1152/jn.1995.73.6.2608 (https://pubmed.ncbi.nlm.nih.gov/7666169/). 7. Gallese, V., Fadiga, L., Fogassi, L., & Rizzolatti, G. (1996). Action recognition in the premotor cortex. Brain : a journal of neurology, 119 ( Pt 2), 593–609. https://doi.org/10.1093/brain/119.2.593 (https://pubmed.ncbi.nlm.nih.gov/8800951/). 8. Gallese, V., Gernsbacher, M. A., Heyes, C., Hickok, G., & Iacoboni, M. (2011). Mirror Neuron Forum. Perspectives on psychological science : a journal of the Association for Psychological Science, 6(4), 369–407. https://doi.org/10.1177/1745691611413392 (https://pubmed.ncbi.nlm.nih.gov/25520744/). 9. Glenberg, A. M. (2015). Big Myth or Major Miss? [Review of The Myth of Mirror Neurons: The Real Neuroscience of Communication and Cognition, by Gregory Hickok]. The American Journal of Psychology, 128(4), 533–539. https://doi.org/10.5406/amerjpsyc.128.4.0533 (https://www.jstor.org/stable/10.5406/amerjpsyc.128.4.0533). 10. Heyes, C., & Catmur, C. (2022). What Happened to Mirror Neurons?. Perspectives on psychological science : a journal of the Association for Psychological Science, 17(1), 153–168. https://doi.org/10.1177/1745691621990638 (https://pmc.ncbi.nlm.nih.gov/articles/PMC8785302/). 11. Hickok G. (2009). Eight problems for the mirror neuron theory of action understanding in monkeys and humans. Journal of cognitive neuroscience, 21(7), 1229–1243. https://doi.org/10.1162/jocn.2009.21189 (https://pmc.ncbi.nlm.nih.gov/articles/PMC2773693/). 12. Hickok, G. (2014). The myth of mirror neurons: The real neuroscience of communication and cognition. W. W. Norton & Company (https://wwnorton.com/books/9780393089615). 13. La Touche, R. (2020). Métodos de representación del movimiento en rehabilitación. Construyendo un marco conceptual para la aplicación en clínica. Journal of MOVE and Therapeutic Science, 2(2), 152–159. https://doi.org/10.37382/jomts.v2i2.42 (https://publicaciones.lasallecampus.es/index.php/MOVE/article/view/42). 14. Lingnau, A., Gesierich, B., & Caramazza, A. (2009). Asymmetric fMRI adaptation reveals no evidence for mirror neurons in humans. Proceedings of the National Academy of Sciences of the United States of America, 106(24), 9925–9930. https://doi.org/10.1073/pnas.0902262106 (https://pmc.ncbi.nlm.nih.gov/articles/PMC2701024/). 15. Molenberghs, P., Cunnington, R., & Mattingley, J. B. (2012). Brain regions with mirror properties: a meta-analysis of 125 human fMRI studies. Neuroscience and biobehavioral reviews, 36(1), 341–349. https://doi.org/10.1016/j.neubiorev.2011.07.004 (https://pubmed.ncbi.nlm.nih.gov/21782846/). 16. Mukamel, R., Ekstrom, A. D., Kaplan, J., Iacoboni, M., & Fried, I. (2010). Single-neuron responses in humans during execution and observation of actions. Current biology : CB, 20(8), 750–756. https://doi.org/10.1016/j.cub.2010.02.045 (https://pubmed.ncbi.nlm.nih.gov/20381353/). 17. Rizzolatti, G., Fadiga, L., Gallese, V., & Fogassi, L. (1996). Premotor cortex and the recognition of motor actions. Brain research. Cognitive brain research, 3(2), 131–141. https://doi.org/10.1016/0926-6410(95)00038-0 (https://www.sciencedirect.com/science/article/pii/0926641095000380?via%3Dihub). 18. Rizzolatti, G., Fadiga, L., Matelli, M., Bettinardi, V., Paulesu, E., Perani, D., & Fazio, F. (1996). Localization of grasp representations in humans by PET: 1. Observation versus execution. Experimental brain research, 111(2), 246–252. https://doi.org/10.1007/BF00227301 (https://pubmed.ncbi.nlm.nih.gov/8891654/). 19. Rizzolatti, G., Fabbri-Destro, M., & Cattaneo, L. (2009). Mirror neurons and their clinical relevance. Nature clinical practice. Neurology, 5(1), 24–34. https://doi.org/10.1038/ncpneuro0990 (https://pubmed.ncbi.nlm.nih.gov/19129788/). 20. Rizzolatti, G., & Sinigaglia, C. (2015). A curious book on mirror neurons and their myth: Review of Gregory Hickok's The Myth of Mirror Neurons: The Real Neuroscience of Communication and Cognition (https://bpb-us-e1.wpmucdn.com/sites.ucsc.edu/dist/0/158/files/2015/04/Rizzolatti-Sinigaglia-Review.pdf). 21. Southgate, V., & Hamilton, A. F. (2008). Unbroken mirrors: challenging a theory of Autism. Trends in cognitive sciences, 12(6), 225–229. https://doi.org/10.1016/j.tics.2008.03.005 (https://pubmed.ncbi.nlm.nih.gov/18479959/). 22. Tarhan, L. Y., Watson, C. E., & Buxbaum, L. J. (2015). Shared and Distinct Neuroanatomic Regions Critical for Tool-related Action Production and Recognition: Evidence from 131 Left-hemisphere Stroke Patients. Journal of cognitive neuroscience, 27(12), 2491–2511. https://doi.org/10.1162/jocn_a_00876 (https://pmc.ncbi.nlm.nih.gov/articles/PMC8139360/). 23. Ventoulis, I., Gkouma, K. R., Ventouli, S., & Polyzogopoulou, E. (2024). The Role of Mirror Therapy in the Rehabilitation of the Upper Limb's Motor Deficits After Stroke: Narrative Review. Journal of clinical medicine, 13(24), 7808. https://doi.org/10.3390/jcm13247808 (https://pubmed.ncbi.nlm.nih.gov/39768730/).

Under Section 107 of the Copyright Act, allows the unlicensed use of copyrighted materials for purposes such as: Commentary: Using parts of a news article, scientific paper, or medical journal for educational purposes. This is an arts and culture, education podcast. Listeners, thank you for joining us this past Friday for our annual New Year's livestream featuring your host, Mitch Hampton! Please share it with us, like and subscribe- all that jazz!Here is to a New Year filled with creativity and humanity.More on this special livestream here:This stream on the topic of temporal change in time in the arts will focus on the image (Antonioni, Akerman others) as well as music (Sarah Vaughan and others) to discuss the quite wide and various ways artists depict the passage of time. Listeners, thank you for joining us this past Friday for our annual New Year's livestream featuring your host, Mitch Hampton! Please share it with us, like and subscribe- all that jazz!Here is to a New Year filled with creativity and humanity. More on this special livestream here:This stream on the topic of temporal change in time in the arts will focus on the image (Antonioni, Akerman others) as well as music (Sarah Vaughan and others) to discuss the quite wide and various ways artists depict the passage of time. #podcast #NewYear2025 #music #time #ChantalAckerman #Antonioni #SarahVaughn

Diego Perrone, Eleonora Antonioni, Lucia Biagi e Alessio Marchetti si riuniscono in un rituale per evocare il fantasma delle puntate passate di Strano. Finiscono a mangiare ravioli al vapore parlando di stranezza, pugni, travestimenti, errori e molto altro.Puoi guardare la puntata sul canale Youtube di Strano.

Alexandre e Fred convidam o músico Willian de Andrade para conversar sobre três excelentes filmes do cineasta Michelangelo Antonioni.  No episódio #64 do PFC já havíamos tratado da chamada “trilogia da Incomunicabilidade”, mas neste áudio retornamos com três outros grandes filmes da fase colorida do italiano: “O Deserto Vermelho” (Il deserto rosso, 1964), com a musa Monica Vitti no papel principal, “Blow-Up, Depois Daquele Beijo” (Blow-Up, 1966), produção da MGM filmada em Londres e “O Passageiro – Profissão: Repórter” (Professione: reporter, 1975) o último grande clássico de Antonioni, que foi estrelado por Jack Nicholson e Maria Schneider. Crédito da Foto: John Springer Collection/CORBIS/Corbis via Getty Images ---------------------- Acesse nosso site: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://www.filmesclassicos.com.br⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Acesse nossa página no Facebook : ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/podcastfilmesclassicos/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to Paul Todisco. He is a director and we are talking his visual style, Star Wars, and directing actors. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. I wanted to create a visually poetic film that tells a story through imagery. In my latest project, I emphasized the importance of visuals in filmmaking, drawing inspiration from great directors like Antonioni. I believe that imagery can convey deeper meanings and emotions, often more effectively than dialogue. This approach allows the audience to connect with the film on a more profound level, evoking archetypes and feelings that resonate with their own experiences. However, I also recognize the challenges that come with this method. Many filmmakers make the mistake of trying to appeal to everyone, which can dilute the authenticity of the film. It's crucial to stay true to your vision and not compromise for the sake of a broader audience. This is a lesson I learned through my experiences in the industry, especially when observing films that feel forced or inauthentic. The recent trend of focus-grouping films can lead to a loss of artistic integrity, resulting in movies that lack depth and originality. I strive to avoid this pitfall by ensuring that every element of my film serves a purpose and contributes to the overall narrative. My process involves extensive planning and rehearsal, allowing me to work closely with both trained actors and non-actors to achieve honest performances. By dedicating time to rehearsals, we can explore the characters and their arcs, ensuring that the final product is both engaging and meaningful. I believe that the essence of filmmaking lies in the ability to create a genuine connection with the audience, and that starts with a strong vision and commitment to the craft. Join me as I share my insights and experiences in the world of filmmaking, and learn how you too can create stunning visuals that resonate with viewers. 00:00:00 - Introduction 00:00:06 - Discussion on Directing and Visual Storytelling 00:01:57 - The Importance of Authenticity in Filmmaking 00:04:24 - Critique of 'Rise of Skywalker' 00:10:27 - Discussion on Audience Expectations and Filmmaking 00:12:26 - Directing Non-Actors in 'One Day Like Rain' 00:13:59 - The Importance of Planning and Rehearsal in Filmmaking

Bello, peligroso, enigmático actor, a las órdenes de Clement, Visconti, Antonioni o Godard.Arquetipo de belleza masculina con genuino “charme" francés, Alain Delon, junto a Brigitte Bardot, la belleza francesa más exportable en los 60. “El problema es ser guapo pero tonto, lo que no es mi caso, ser guapo y mal actor, pero también se puede ser guapo, buen actor y no demasiado tonto”, declaró.”A plein soleil” la pelicula que le lanzó al estrellato en 1960. Después “La Piscina”, "Rocco y su Hermanos”, "El Gatopardo” y otras .Su rostro, ambiguo y delicado, acompañó los sueños húmedos de muchas y fue acompañado por Romy Schneider y una larga lista en el “couché". Françoise Hardy, Jane Birkin, J.Moreau, Marie Laforet, Dalida o J. Greco en la BSO, en la despedida, un 18 de Agosto. Junto a sus 35 perros.”Los únicos que me amaron incondicionalmente”. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

Join us for an engaging and heartfelt journey through Italian American heritage and filmmaking. We were lucky to have this fascinating discussion with filmmakers Mary Lou and Jerome Bongiorno. In this podcast, they each shared their rich Italian roots, tracing back to the Veneto region and connections to Shakespeare's "Romeo and Juliet." The conversation also explores the distinct Italian communities within Newark, New Jersey, and their cultural nuances. Most importantly though this conversation navigates the world of Italian cinema and its profound cultural impact. Reflecting on the Newark Riots Rebellion of 1967, the discussion shifts to the brilliance of legendary Italian filmmakers like Federico Fellini, Antonioni, Rossellini, and Pasolini. Their works continue to inspire and shape contemporary cinema. The conversation also touches on the humanity of canonized saints, such as Elizabeth Ann Seton and Mother Cabrini, shedding light on their personal struggles and remarkable achievements. In the final chapters, we explore family secrets and cultural expectations, examining how societal pressures shaped personal histories, particularly among the World War I and II generations. The conversation shifts to the impact of family dynamics in Italian-American filmmaking, focusing on Martin Scorsese's relationship with his mother, Catherine. We discuss the broader significance of authentic representation in Italian-American media, moving beyond stereotypical portrayals to highlight diverse stories and achievements. Finally, we share insights from our recent filming experience in Sicily, capturing the evolving landscape of Italian society through unique narratives. Join us for this rich tapestry of stories, culture, and history. --- Support this podcast: https://podcasters.spotify.com/pod/show/italianamerican/support

Last April, Film Comment invited writer Adam Shatz on the Podcast to talk about The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, his new biography of the Martinican writer, psychiatrist, and anti-colonial revolutionary. The Podcast explored Fanon's lasting impression on the world of cinema since his untimely death in 1961—and it became the basis for a four-day series of screenings and talks we presented last weekend, called The Rebel's Cinema—Frantz Fanon on Screen. The series took place at four cinemas across New York City, beginning at Film at Lincoln Center with Michelangelo Antonioni's The Passenger (1975), moving to Maysles Documentary Center in Harlem for Gillo Pontecorvo's Burn!, (1969), winding down to the Brooklyn Academy of Music for Ivan Dixon's The Spook Who Sat by the Door (1973), and finishing up at Anthology Film Archives with Sarah Maldoror's Monangambeee (1969) and Assia Djebar's The Zerda and the Songs of Forgetting (1982). Each screening was followed by a Q&A with special guests, which we're excited to share this week on the Podcast. On today's episode, Film Comment editors Devika Girish and Clinton Krute welcome Adam as well as critic and film editor Blair McClendon to discuss the Fanonian themes of alienation and objectivity in The Passenger, Antonioni's 1975 epic that stars Jack Nicholson as an American journalist who assumes the identity of a dead gunrunner caught up in a revolutionary conflict in Chad

durée : 00:58:10 - Marcello Mastroianni, l'acteur aux mille visages (1/3) : Italie, années 1960 - par : Thierry Jousse - En contrepoint de la sortie du dernier film de Christophe Honoré, Marcello Mio, Ciné Tempo vous invite à Cinecitta dans les années 1960, en compagnie d'une légende, Marcello Mastroianni. Fellini, Rota, Antonioni, De Sica sont de la partie…

durée : 01:25:13 - Toute une vie - "L'Avventura", Monica Vitti, Ferrare, "Blow-up" ou "Profession : reporter" : autant de piliers de la vie et de l'œuvre de Michelangelo Antonioni. Fondamentale dans l'histoire du cinéma italien, c'est la vie du cinéaste italien qui se déplie ici dans un documentaire de près d'une heure et demi. - invités : Dominique Noguez Ecrivain français (1942-2019); Jacques Aumont Universitaire et critique de cinéma.; Jean Roudaut Essayiste et poète; Aldo Tassone Historien du cinéma et journaliste italien

Our Alternate Oscars episodes, based on Danny Peary's fantastic 1992 book of the same name, have always been among our most popular. Over the course of the podcast, we've covered the 1930's, 1950's, 1970's, 1980's, 1990's, and the 2000's. Comparing what films actually won Best Picture to what we believe should have won is always a fun challenge, and it has given us a chance over the years to open or reopen some doors for our listeners to movies that are overlooked and forgotten. When we came to the 1950's episode, in an (eerily prophetic) split decision, we chose to include only English-language works, since the sheer volume of brilliant films from around the world in that decade would overwhelm both us and you, dear listeners. As we approached the 1960's for this episode, however, we reasoned that the relative lack of great American films from the decade suggested that this time around, we should open our tent to the entire world. We could not stand idly by, for instance while "A Man for All Seasons", lovely though it is, walked away with Best Picture in the year of films like "Persona", "Masculin/Feminin" and "Blow-Up". Our worries about the length of the episode, however, turned out to be justified and then some; therefore, we needed to split the episode into two parts. So with that, we are thrilled to present our first episode(s) since our triumphant, celebratory live recording of Episode 50 in March: thus Episodes 51A (1960-1964) and 51B (1965-1969), Alternate Oscars: The 1960's Edition. There were a couple of things that really hit us as we were creating this entry in the Vintage Sand catalogue. The first is that an unexpectedly high number of our choices were, in fact, American films, suggesting that while common wisdom avers that Hollywood suffered a creative decline in the 60's, there were a lot of great things happening just below the surface that were, unwittingly perhaps, paving the way for the revolution of the American New Wave that would come in the early 1970's. And the deeper we dove into the cinema of the 60's, we came to really understand the fundamental difference between those works and film today. Simply put, it was a time when directors really seemed to trust their audience's intelligence and imagination. This is most obvious in structurally elliptical puzzle films like Resnais' "Last Year at Marienbad", Buñuel's "The Exterminating Angel", Antonioni's "L'Avventura" and "Blow-Up", Bergman's "Persona" and even Kubrick's "2001: A Space Odyssey". But in ways big and small, and in terms both of performance and filmmaking technique, there is in 60's film a refreshing absence of rat-on-the-balcony-rail-at-the-end-of-"Departed" heavy-handedness that seems to be a common thread in the work of even our greatest directors today. So with all this in mind, strap in and join us for our odyssey through 60's cinema. It promises to be highly irregular, Dave…

Filmmaker and cinephile extraordinaire Neil Bahadur joins us to talk about George Lucas, King Vidor, his cinephilic origin story, Antonioni, Canadian cinema, the limits of auteurism, and his next film. sign up on the patreon to get the full discussion: https://www.patreon.com/posts/300-neil-bahadur-103934615

Our Alternate Oscars episodes, based on Danny Peary's fantastic 1992 book of the same name, have always been among our most popular. Over the course of the podcast, we've covered the 1930's, 1950's, 1970's, 1980's, 1990's, and the 2000's. Comparing what films actually won Best Picture to what we believe should have won is always a fun challenge, and it has given us a chance over the years to open or reopen some doors for our listeners to movies that are overlooked and forgotten. When we came to the 1950's episode, in an (eerily prophetic) split decision, we chose to include only English-language works, since the sheer volume of brilliant films from around the world in that decade would overwhelm both us and you, dear listeners. As we approached the 1960's for this episode, however, we reasoned that the relative lack of great American films from the decade suggested that this time around, we should open our tent to the entire world. We could not stand idly by, for instance while A Man for All Seasons, lovely though it is, walked away with Best Picture in the year of films like Persona, Masculin/Feminin and Blow-Up. Our worries about the length of the episode, however, turned out to be justified and then some; therefore, we needed to split the episode into two parts. So with that, we are thrilled to present our first episode(s) since our triumphant, celebratory live recording of Episode 50 in March: thus Episodes 51A (1960-1964) and 51B (1965-1969), Alternate Oscars: The 1960's Edition. There were a couple of things that really hit us as we were creating this entry in the Vintage Sand catalogue. The first is that an unexpectedly high number of our choices were, in fact, American films, suggesting that while common wisdom avers that Hollywood suffered a creative decline in the 60's, there were a lot of great things happening just below the surface that were, unwittingly perhaps, paving the way for the revolution of the American New Wave that would come in the early 1970's. And the deeper we dove into the cinema of the 60's, we came to really understand the fundamental difference between those works and film today. Simply put, it was a time when directors really seemed to trust their audience's intelligence and imagination. This is most obvious in structurally elliptical puzzle films like Resnais' Last Year in Marienbad, Buñuel's The Exterminating Angel, Antonioni's L'Avventura and Blow-Up, Bergman's Persona and even Kubrick's 2001: A Space Odyssey. But in ways big and small, and in terms both of performance and filmmaking technique, there is in 60's film a refreshing absence of rat-on-the-balcony-rail-at-the-end-of-Departed heavy-handedness that seems to be a common thread in the work of even our greatest directors today. So with all this in mind, strap in and join us for our odyssey through 60's cinema. It promises to be highly irregular, Dave…

A woman's mysterious disappearance pulls at the bond between her lover and her friend. Memory... hazy, unreliable memory. Charlie and Antonio take all this in and more in Michelangelo Antonioni's 1960 classic: L'AVVENTURA. Join them as they follow the beautiful Monica Vitti through Antonioni's illustriously misty Italy.  Intro/outro music: "Onie" by The Electric Prunes L'AVVENTURA (1960), Italy, written by Michelangelo Antonioni, Elio Bartolini, and Tonino Guerra, directed by Michelangelo Antonioni, cinematography by Aldo Scavarda, featuring Monica Vitti, Gabriele Ferzetti, and Lea Massari.

In his new book The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, Adam Shatz writes that, “The American poet Amiri Baraka described James Baldwin, who was born a year before Fanon, as ‘God's Black revolutionary mouth.' What Baldwin was for America, Fanon was for the world, especially the insurgent Third World, those subjects of European empires who had been denied what Edward Said called the ‘permission to narrate.'” Shatz's book explores, in lucid detail, the complex life and thought of the Martinican psychiatrist and anticolonial theorist,  whose life was tragically cut short in 1961. Fanon's epochal books Black Skin, White Mask and The Wretched of the Earth have long been a source of inspiration for politically minded filmmakers, including Med Hondo, Claire Denis, and many others. Film Comment Editors Devika Girish and Clinton Krute invited Adam on the podcast to talk about Fanon's interest in cinema, filmmakers who've engaged the theorist's works, and what exactly makes a movie “Fanonian.” In addition to films by Hondo and Denis, we talked about Ivan Dixon's The Spook Who Sat by the Door, Antonioni's The Passenger, Gillo Pontecorvo's The Battle of Algiers, Ousmane Sembène's Black Girl, and more.

Le photographe âgé de 76 ans, dont le travail est exposé jusqu'au 14 juillet au Palais Galliera, à Paris, nous reçoit dans son studio au sein d'un immeuble moderne du 14e arrondissement, à deux pas de la porte d'Orléans.Paolo Roversi évoque son enfance heureuse à Ravenne en Italie auprès d'un père médecin et d'une mère au foyer qui lui transmet le goût de la beauté. Très jeune, il s'intéresse au football puis à la poésie, de Pétrarque à Montale, se passionne pour Pasolini, Antonioni et les écrivains de la Beat Generation. Après avoir monté son studio, il se met à la photo de mode sous l'influence d'Helmut Newton ou Guy Bourdin. Il parle de son rapport poétique aux images et à la réalité et de l'importance d'avoir une émotion au moment du déclic. Et des artistes et modèles qui l'ont inspiré.Il revient ainsi sur son enthousiasme pour Verdi, Johnny Cash, Rothko et récemment l'exposition Vermeer à Amsterdam : « C'était sublimissime ! Ses tableaux sont assez photographiques finalement, avec cette recherche de la lumière qui rentre par la fenêtre et ses poses, comme des petits instantanés. Les voir les uns après les autres comme cela, c'était incroyable. C'est comme s'il m'avait suggéré ­certaines photos. Je me suis dit : “Voilà pourquoi j'ai fait cette photo-là”. »Depuis cinq saisons, la journaliste et productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal) préparé avec l'aide de Diane Lisarelli et Johanna SebanRéalisation : Emmanuel BauxMusique : Gotan Project

Mångsysslaren Agnes Fred tar upp tråden från ett Snedtänkt från 2018 och fyller i några luckor från det samtalet. Skillnaden mellan en Bergmanfilm från sjuttiotalet och en sjuttiotalsfilm diskuteras. Skärholmens Antonioni! Ralf Edströms polisonger! Janne Halldoffs självkritik! Marianne Ahrnes Falkenberg! Ingen association är för associativ för att följas upp! Lyssna på alla avsnitt i Sveriges Radio Play.

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.Jake Serwin & Ian Rhine, hosts of the preeminent Clint Eastwood podcast Pod Casty For Me return to discuss one of the finest studio comedies of the 90s, "Austin Powers: International Man of Mystery" starring Mike Myers. We discuss the film as both a product of broader ambient 60s nostalgia in the decade and an extension of Mike Myers deep personal affinity for the cultural output of the era. Then, we talk about the film itself as cultural juggernaut, and why Austin Powers and the Mike Myers brand felt inescapable. Finally, we talk about the film's lasting legacy and the way it in no small part shaped the trajectory of the James Bond franchise (and maybe a few others). Listen and Subcribe to Pod Casty For Me.Follow Pod Casty for Me on Twitter. ....Our theme song is "Mirror" by Chris Fish 

Listen, we don't get Michelangelo Antonioni. We admit it. Maybe someday we'll watch Blow-Up and kinda like it, but for now we're not there yet. This week we get Identification of a Woman (1982), Antonioni's entry into one of our most hated genres: male film director directs a movie about a male film director's search for a new lover/star/muse. This one is even arguably - and we do! - more self-aware and less misogynistic than others in that genre. It's certainly no less elliptical and enigmatic than previous films of Antonioni we've seen.

Well, this was ill-advised, I now think to myself... and now you've got a big ol' buffet to keep going back to for as many trips as you'd like, and I don't know how many of you were expecting Jell-O as well as sushi after your fried green beans. But, whether you listen to it all in sequence or segments, I hope it's valuable to you! Here's a few things you will hear about during the ride:  Contraptions used to make Pink Floyd songs like "One of These Days" happen and how they were calibrated The definition of scenery gorn and other tropes found in the film The Bear's emotional relationship with the Wall of Sound, which becomes everyone's relationship with it as well, because The Dead could not perform the same way on everyone else's rinky dink P.A. systems after experiencing the clarity they were used to Pink Floyd's year-long scheme to move from Capitol to CBS in America Hendrix blowing off the Dead on the night he promised to jam, and their low key "revenge" Antonioni's opinions on filmmaking in America vs Italy. What it was like to film Z.P. through the eyes of an American member of the crew who actually did admire his work Richard Wright not showing up very much, getting booted Jerry Garcia records his Zabriskie Point soundtrack music in much less time than he wanted to. And has his payment stolen by Mickey Hart's dad. Who also steals car parts and speakers from Bear Floyd does more regrouping, post-breakup with Roger. Roger gets cranky. Clapton gets a cheeseburger. Roger is still cranky today that the band he walked away from and then sued when they didn't die without him will not promote his albums on their social media The Grateful Dead play for the largest outdoor rock audience of all time in upstate New York. And perform long soundcheck concerts for free on top of that Pink Floyd's 1975 SoCal shows being ruined by LAPD for 4 days Phil Lesh drinks Canadian Whisky with mystery capsules in it and Jerry Garcia crawls around on the floor like a caterpillar who can't leave the room on his own Kurt Loder gives a mean-spirited review of a mean-spirited album.  Monthly exclusive Rock History bonus feed here https://www.patreon.com/rockfilmrock Choose your preferred method of supporting the show for no money or maybe some money: PayPal: https://www.paypal.com/paypalme/whatsamatta Shirt designs with defeatist messaging delivered via bright colors and childish graphics: https://www.bonfire.com/store/justtheworstshirtsever/ Subscribe to me on YouTube: https://www.youtube.com/channel/UCV4Up7xGgjioEC07bjwu4mQ Follow on Instagram: https://www.instagram.com/justtheworstever/ Send me an email with show suggestions: Justtheworstever@gmail.com  https://antonioni9.wordpress.com/2021/06/25/michelangelo-and-the-leviathan-the-making-of-zabriskie-point-1992/  https://antonioni9.wordpress.com/2011/10/24/lets-talk-about-zabriskie-point-august-1970/ https://www.rollingstone.com/music/music-news/pink-floyd-the-inside-story-104505/ https://archive.org/details/guitarworldprese0000unse/page/26/mode/2up https://archive.org/details/saucerfulofsecre00scha/page/n7/mode/2up https://www.youtube.com/results?search_query=jim+ladd+innerview+pink+floyd  

This week we discuss an lesser-known Antonioni classic.

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

This week the kids discuss Rift (2017) by director Erlingur Thoroddsen. From wiki: “Rift (Icelandic: Rökkur) is a 2017 Icelandic horror film written and directed by Erlingur Thoroddsen.[1][2][3] Rift is a gay psychological thriller, in which Gunnar (Björn Stefánsson) and Einar (Sigurður Þór Óskarsson) get to grips with their fractured relationship amid some spooky situations in a remote cabin in Iceland.[4][5] Rift premiered at the Gothenburg Film Festival, where it was chosen as the closing film.[2][3] Erlingur also won the Award for Artistic Achievement for Rift at Outfest in 2017.[6]”They also discuss guitars, the Rose Bowl flea market, Drusilla's Violent Femmes cover band, Burger Records, The Seventh Seal/Bill & Ted's Bogus Journey double feature, Messiah of Evil restored by Radiance Films, Carnival of Souls, Let's Scare Jessica to Death, Radioland Murders, do some shit talking, Lake Mungo, Next of Kin, A24, Antonioni, Scorsese, Picnic at Hanging Rock, Chan is Missing, The Haunting, Chilly Scenes of Winter, 500 Days of Summer, Annie Hall, Personal Shopper, and more!Website: http://www.bloodhauspod.comTwitter: https://twitter.com/BloodhausPodInstagram: https://www.instagram.com/bloodhauspod/Email: bloodhauspod@gmail.comDrusilla's art: https://www.sisterhydedesign.com/Drusilla's Instagram: https://www.instagram.com/hydesister/ Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/ Joshua's website: https://www.joshuaconkel.com/Joshua's Bluesky: https://bsky.app/profile/joshuaconkel.bsky.socialInstagram: https://www.instagram.com/joshua_conkel/Joshua's Letterboxd: https://letterboxd.com/joshuaconkel 

00:00 - 48:09 - Sideways 48:09 - 1:06:43 - Malcolm in the Middle, email to put the month of music behind us and kick off the new season of the clip, we're talking about Alexander Payne's Sideways (2004). we get into feeling the Payne of contemptible characters who occupy his cinema, good hangout road trip vibes, what if Sideways was about weed, being annoyed by wine guys, etc. then, on MitM, Malcolm talks about Over the Edge, JT goes infomercial mode, and Eddie revisits one of his favorite Antonioni films. finally, an e-mail about toys.

This episode was recorded during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the film discussed in this episode wouldn't exist. To learn more, visit the WGA strike hub and read about the SAG-AFTRA strike here.This is The BW/DR Podcast: Frame 25, a new series in conversation with, and sponsored by, our friends at Galerie. Every month, we'll pick a title from Galerie's curated library and zoom in on a single moment to better see the whole.This month: in concert with Karyn Kusama's library, we chat about how Todd Haynes's Safe (1995) transposes the female ennui of Antonioni's Red Desert to the sherbet interiors of Sherman Oaks, CA.For info on upcoming live movie discussions (with you, for you!) hosted by Galerie, sign up at https://join.galerie.com/bwdr. The BW/DR Podcast: Frame 25 is co-hosted by Veronica Fitzpatrick and Chad Perman and produced and edited by Eli Sands.

Book Vs. Movie: Blow-UpThe Julio Cortazar Short Story Vs. the Michelangelo Antonio Movie The Margos are feeling very mod today with this particular episode. We talk about Michelangelo Antonini, one of the most revered directors of the 1960s & 1970s, with a Palm d'Or, the Golden Lion, the Golden Bread, and the Golden Leopard among his film accomplishments. 1966's Blow-Up is his biggest English language hit, and it captured the New Wave movement in modern filmmaking. The original story is from Julio Cortazar in a short story titled “Las Babas del Diablo,” written in 1959. The symbolism-heavy story is told with several unreliable narrators and the artist's relationship to their medium. Our protagonist is Roberto, a French-Chilean translator who loves photography and may or may not be connected to reality. He remembers watching a middle-aged woman in a park with a teenage boy. Is she procuring him for an older man? Roberto takes photographs and obsesses over the crime about to happen. The 1966 film (Antonioni's first English-speaking production) follows Thomas (David Hemmings,) a fashion photographer in demand who obsesses over antiques and modernism. The movie also stars Vanessa Redgrave as a woman being photographed by Thomas in a clinch with an older man. She tries to seduce the roll of film from him after following him home. But he keeps the original and discovers, after blowing up the negatives) that he might have uncovered a murder. Thomas travels through underground London (via The Yardbirds) and the pastoral field, seeking the truth. So between the short story and movie--which did the Margos like better? In this ep, the Margos discuss:The bios of Antonioni & CortazarThe mod movement of the 1960s London.The cast of the 1966 film: David Hemmings (Thomas,) Vanessa Redgrave (Jane,) Sarah Miles (Patricia,) John Castle (Bill,) Jane Birkin (the Blonde,) Gillian Hillis (the Brunette,) Peter Bowles (Ron,) Veruschka von Lehndorff (herself,) Jimmy Page (The Yardbirds,) Jeff Beck (The Yardbirds) and Keith Relf vocalist for The YardbirdsClips used:Vanessa Redgrave and David HemmingsBlow-Up (1966 trailer) Thomas directs modelsThomas instructs Jane to move against the beatThe Yardbirds in Blow-UpJane Birkin modelsMusic: Blow-Up soundtrack, Herbert HancockBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5406542/advertisement

Book Vs. Movie: Blow-UpThe Julio Cortazar Short Story Vs. the Michelangelo Antonio Movie The Margos are feeling very mod today with this particular episode. We talk about Michelangelo Antonini, one of the most revered directors of the 1960s & 1970s, with a Palm d'Or, the Golden Lion, the Golden Bread, and the Golden Leopard among his film accomplishments. 1966's Blow-Up is his biggest English language hit, and it captured the New Wave movement in modern filmmaking. The original story is from Julio Cortazar in a short story titled “Las Babas del Diablo,” written in 1959. The symbolism-heavy story is told with several unreliable narrators and the artist's relationship to their medium. Our protagonist is Roberto, a French-Chilean translator who loves photography and may or may not be connected to reality. He remembers watching a middle-aged woman in a park with a teenage boy. Is she procuring him for an older man? Roberto takes photographs and obsesses over the crime about to happen. The 1966 film (Antonioni's first English-speaking production) follows Thomas (David Hemmings,) a fashion photographer in demand who obsesses over antiques and modernism. The movie also stars Vanessa Redgrave as a woman being photographed by Thomas in a clinch with an older man. She tries to seduce the roll of film from him after following him home. But he keeps the original and discovers, after blowing up the negatives) that he might have uncovered a murder. Thomas travels through underground London (via The Yardbirds) and the pastoral field, seeking the truth. So between the short story and movie--which did the Margos like better? In this ep, the Margos discuss:The bios of Antonioni & CortazarThe mod movement of the 1960s London.The cast of the 1966 film: David Hemmings (Thomas,) Vanessa Redgrave (Jane,) Sarah Miles (Patricia,) John Castle (Bill,) Jane Birkin (the Blonde,) Gillian Hillis (the Brunette,) Peter Bowles (Ron,) Veruschka von Lehndorff (herself,) Jimmy Page (The Yardbirds,) Jeff Beck (The Yardbirds) and Keith Relf vocalist for The YardbirdsClips used:Vanessa Redgrave and David HemmingsBlow-Up (1966 trailer) Thomas directs modelsThomas instructs Jane to move against the beatThe Yardbirds in Blow-UpJane Birkin modelsMusic: Blow-Up soundtrack, Herbert HancockBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Bienvenidos Bastarnautas, a un episodio con sangre nueva en cabina, sangre de brujas, productoras, cantantes, performers, poetas de letra y del ritmo. Sumérgete en una cabina balanceada por el tono de voces féminas y por propuestas musicales diferentes. Escucharás un abanico musical diverso, comenzando con algo electro funk fresco de Bertrand Burgalat, Koko nos muestra algo de Kendrick Lamar, escucha la piscine - algo francés de Voilaaa probablemente inspirada en un clásico de cine de Antonioni que lleva el mismo nombre. Imagínate de Koko cc - Música de alienígena que se enamora de un humano. Y a ti, te gusta dominar o te das el permiso de ser dominado? --- Send in a voice message: https://podcasters.spotify.com/pod/show/los-bastardos-con-suerte/message

Jackie and Greg return to Michelangelo Antonioni's “trilogy on modernity and its discontents” with the final film in the cycle, 1962's L'ECLISSE. Topics of discussion include the film's fascination with architecture, its radical ending, Antonioni's mastery of mood and atmosphere, and how it compares to the other two films in the trilogy: L'AVVENTURA and LA NOTTE.#73 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#196 on Sight & Sound's 2022 "The 100 Greatest Films of All Time" list.  bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: instagram.com/sceneandheardpodCheck us out at our official website: sceneandheardpod.comJoin our weekly film club: instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtPhotography: Matt AraquistainMusic: Andrew CoxGet in touch at hello@sceneandheardpod.comSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

Traditionally, the definition of political cinema assumes a relationship between cinema and politics. In contrast to this view, author Mauro Resmini sees this relationship as an impasse. To illustrate this theory, Resmini turns to Italian cinema to explore how films have reinvented the link between popular art and radical politics in Italy from 1968 to the early 1980s, a period of intense political and cultural struggles also known as the long '68. Italian Political Cinema: Figure of the Long '68 (U Minnesota Press, 2023) conjures a multifaceted, complex portrayal of Italian society. Centered on emblematic figures in Italian cinema, it maps the currents of antagonism and repression that defined this period in the country's history. Resmini explores how film imagined the possibilities, obstacles, and pitfalls that characterized the Italian long '68 as a moment of crisis and transition. From workerism to autonomist Marxism to feminism, this book further expands the debate on political cinema with a critical interpretation of influential texts, some of which are currently only available in Italian. A comprehensive and novel redefinition of political film, Italian Political Cinema introduces its audience to lesser-known directors alongside greats such as Pasolini, Bertolucci, Antonioni, and Bellocchio. Resmini offers access to untranslated work in Italian philosophy, political theory, and film theory, and forcefully advocates for the continued artistic and political relevance of these films in our time. Mauro Resmini is associate professor of cinema and media studies and Italian at the University of Maryland, College Park. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Traditionally, the definition of political cinema assumes a relationship between cinema and politics. In contrast to this view, author Mauro Resmini sees this relationship as an impasse. To illustrate this theory, Resmini turns to Italian cinema to explore how films have reinvented the link between popular art and radical politics in Italy from 1968 to the early 1980s, a period of intense political and cultural struggles also known as the long '68. Italian Political Cinema: Figure of the Long '68 (U Minnesota Press, 2023) conjures a multifaceted, complex portrayal of Italian society. Centered on emblematic figures in Italian cinema, it maps the currents of antagonism and repression that defined this period in the country's history. Resmini explores how film imagined the possibilities, obstacles, and pitfalls that characterized the Italian long '68 as a moment of crisis and transition. From workerism to autonomist Marxism to feminism, this book further expands the debate on political cinema with a critical interpretation of influential texts, some of which are currently only available in Italian. A comprehensive and novel redefinition of political film, Italian Political Cinema introduces its audience to lesser-known directors alongside greats such as Pasolini, Bertolucci, Antonioni, and Bellocchio. Resmini offers access to untranslated work in Italian philosophy, political theory, and film theory, and forcefully advocates for the continued artistic and political relevance of these films in our time. Mauro Resmini is associate professor of cinema and media studies and Italian at the University of Maryland, College Park. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Megan is off this week, so Evan and Dave hit the mics to talk TETRIS, the surprisingly tense spy thriller (question mark?) about the fraught negotiations between the Soviet government, Nintendo, a couple crooked English billionaires, and Henk Rogers, a coder-turned-game-inventer-turned-game-company-founder. And yes, the KGB gets involved. Over on Patreon, Evan and Dave disagree about Brian De Palma's 1981 thriller BLOW OUT (indebted enormously to Hitchcock and Antonioni), and starring John Travolta and Nancy Allen.

Cinematographer Manuel Billeter has worked across a variety of iconic and groundbreaking shows and films including Jessica Jones, Luke Cage, Iron Fist, Law & Order, Person of Interest, Orange Is The New Black, Lawless, and Alfonso Cuarón's Y tu mamá también. Most recently he has been Director of Photography on the HBO Max series The Gilded Age, starring Carrie Coon and Christine Baranski, and Netflix's Inventing Anna, starring Julia Garner."What I think made me want to pursue film or what started my fascination with film and cinema were definitely Fellini, Antonioni, and Bertolucci; the masters, if you will, that kind of make you dream - make you just go to a movie theater, enter this space, and just have a communal experience. I know looking at the screen and just being completely immersed and experiencing stories or experiencing things that make you understand life more - or make you understand life less - and create a dialogue between you and the rest of the world.After that, Alfonso Cuarón, obviously the collaboration was incredibly important and I learned a lot and I carry a lot of that in me, undeniably. Then, I also had the very good fortune of working as a camera assistant, and a camera operator with other cinematographers, so I learned a lot from them. And they became mentors in a way. And it was kind of like a fortunate path to becoming a cinematographer myself.The camera is my tool of choice. It's what I've been given to express what needs to be expressed, what needs to be told. So I'm definitely very particular about composition or lens choices or camera placement." https://manuelbilleter.comwww.imdb.com/name/nm1193850/ www.imdb.com/title/tt4406178/?ref_=fn_al_tt_1 https://www.imdb.com/title/tt8740976/?ref_=fn_al_tt_1www.creativeprocess.info www.oneplanetpodcast.org Instagram www.instagram.com/creativeprocesspodcast/ Photo credit: Sarah Shatz

"What I think made me want to pursue film or what started my fascination with film and cinema were definitely Fellini, Antonioni, and Bertolucci; the masters, if you will, that kind of make you dream - make you just go to a movie theater, enter this space, and just have a communal experience. I know looking at the screen and just being completely immersed and experiencing stories or experiencing things that make you understand life more - or make you understand life less - and create a dialogue between you and the rest of the world.After that, Alfonso Cuarón, obviously the collaboration was incredibly important and I learned a lot and I carry a lot of that in me, undeniably. Then, I also had the very good fortune of working as a camera assistant, and a camera operator with other cinematographers, so I learned a lot from them. And they became mentors in a way. And it was kind of like a fortunate path to becoming a cinematographer myself.The camera is my tool of choice. It's what I've been given to express what needs to be expressed, what needs to be told. So I'm definitely very particular about composition or lens choices or camera placement." Cinematographer Manuel Billeter has worked across a variety of iconic and groundbreaking shows and films including Jessica Jones, Luke Cage, Iron Fist, Law & Order, Person of Interest, Orange Is The New Black, Lawless, and Alfonso Cuarón's Y tu mamá también. Most recently he has been Director of Photography on the HBO Max series The Gilded Age, starring Carrie Coon and Christine Baranski, and Netflix's Inventing Anna, starring Julia Garner.https://manuelbilleter.comwww.imdb.com/name/nm1193850/ www.imdb.com/title/tt4406178/?ref_=fn_al_tt_1 https://www.imdb.com/title/tt8740976/?ref_=fn_al_tt_1www.creativeprocess.info www.oneplanetpodcast.org Instagram www.instagram.com/creativeprocesspodcast/